The Composer, Herself : Contemporary Snapshots of the Creative Process / / Linda Kouvaras, Natalie Williams, Maria Grenfell, editors.

• Pubblicazione: Cham : , : Springer International Publishing AG, , 2024; ©2024
• Edizione: 1st ed.
• Descrizione fisica: 1 online resource (432 pages)
• Disciplina: 780.82
• Soggetto topico: Women composers; Composition (Music)
• Altri autori: KouvarasLinda Ioanna WilliamsNatalie <1977-> GrenfellMaria <1969->
• Nota di contenuto: Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- Chapter 1: Introduction: The "Post(?)-Feminist" Moment in Contemporary Classical Music -- The Composer, Herself: Contemporary Snapshots of the Creative Process-Overview -- Part I: Activist Musical Projects and Cross-Cultural Collaborations -- "Reluctant" / "Emergent" / "Concerted" Feminism -- Cross-Cultural Composition -- Intersectional Feminism -- Part II: Philosophical and Phenomenological Dimensions of Musical Time -- Part III: Musical Awakenings-Reflecting Back, Projecting Forward -- Mentoring -- Advice to Emerging Composers -- "'Unambiguous' Feminist Deconstructivist Triumph[s]" -- How "Post-" is the Current Era, Regarding the Need for Feminism in New Music? -- XX Marks the Spot[light-for Now!]: "The Composer, Herself" -- References -- Part I: Activist Musical Projects and Cross-Cultural Collaborations -- Chapter 2: Borrowing From the Bard -- Introduction -- Circumstances Leading to the Commission of the Piece -- The Composition Process -- Performance Week Process and Confronting the Venue Space -- Choice of the Five Texts -- Confronting the Feminist Stage as a Female Composer in the Twenty-First Century -- Shakespeare and the Hivemind -- References -- Chapter 3: Letters to Clara: A Contemporary Composer's Homage to a Woman Pioneer -- Letters to Clara (2018) -- Approaching Intertextuality -- Piano Queen: The Love of Music (Movement 1) -- Whispered Breath: The Love of Schumann (Movement 2) -- Frei Aber Einsam: The Love of Brahms (Movement 3) -- Regenlied: Her Death and Eternal Memory (Movement 4) -- Conclusion -- References -- Chapter 4: Holding, Handling, Moulding and Setting the Inner Thoughts of another, in Hidden Thoughts I: Do I Matter? -- Hidden Thoughts -- Collecting the Text -- Emotional and Musical Processes -- The Role of the Instruments. ; Conclusion -- References -- Chapter 5: Walking the Line: Emancipating the Complex Female Voice in Recent Operas by Missy Mazzoli -- Introduction -- References -- Chapter 6: Composing with, Composition by: A Set of Compositional Practices -- Introduction -- The Composer's Role -- Where Is the Audience? -- Collaborative Creation and Participation -- The Continuum -- Earth Plays: The Beginnings and After Life -- Messages for You and Akiko Iwasaki -- Earth Plays Movement III and Beyond to Earth Plays V -- Conclusion -- References -- Chapter 7: Harmonia Mundi: Creating a New Work of Music Theatre to Speak to the Current World Chaos -- Introduction -- References -- Chapter 8: Blocking Out Noise: Metamorphosis and Identity in the Recent Chamber Music of Vivian Fung -- Introduction -- Chamber Music -- Compositional Approaches -- Corona Morphs, for Mixed Chamber Ensemble (2020) -- The Creative Future -- References -- Chapter 9: Across Te tai o Rehua: Writing for the taonga pūoro of Aotearoa -- Context -- Pre-Colonisation Māori Society and Oral Tradition -- 1970s Māori Resurgence, Post-Arrival of the Missionaries in New Zealand in the Late Eighteenth Century -- Hineraukatauri, Goddess of Music and Entertainment, and New Sound Worlds -- Turning Points in Compositional Language -- Appreciating te reo Māori (the Māori language) -- References -- Chapter 10: An Overview of my Compositional Practice and Collaborations in China -- Introduction -- Writing Music -- Writing Music, Writing Words -- Challenges and Future Projects -- Chapter 11: Luck, Grief, Hospitality: Re-Routing Power Relationships in Music -- Luck -- Grief -- Hospitality -- Where Is "Home"? -- Re-Routing Power Relationships -- References -- Chapter 12: In Search of the Artistic Moment: Interdisciplinary Collaboration and "The Space Between" from an Australian Female Composer's Perspective. ; The Artistic Moment -- Personal Creative History -- References -- Part II: Philosophical and Phenomenological Dimensions of Musical Time -- Chapter 13: Finding Time, Finding Space: An Autoethnography of Compositional Praxis -- Introduction: Claiming the Space -- Moments in Time and Space -- Discussion and Contextual Exploration of Three Works -- Ebb Tide (2016) -- Finding What's There (2017) -- Journeywork (2018-) -- Conclusion: Finding Myself-Converging Paths -- References -- Chapter 14: A Compositional Life in Time: The Recent Operas of Elena Kats-Chernin -- Introduction -- A Life in Composition -- Whiteley (2019) -- Compositional Process -- Mechanics of Composition -- Composing Children's Opera -- Instruments Within Opera -- Operatic Development -- A Compositional Life in Time -- Summary -- References -- Chapter 15: Einstein's Dream: At the Threshold Between Science and Art -- Musical Time -- Technology and the Creative Process -- "The Greatest Scientists Are Artists as Well" (Einstein) -- Einstein's Dream (2005) -- Controlling Time -- Spatial Notation -- So-What Was Einstein's Dream? -- References -- Chapter 16: The Pendulum Process: Point of Balance -- Introduction -- Ruisselant (1991) -- Silva (2012) -- Conclusion -- References -- Chapter 17: Casting Musical Spells: Time, Passion, and Inevitability in the Music of Shulamit Ran -- Introduction -- Women in Composition -- Programming Contemporary Music -- Compositional Process in the String Quartets -- String Quartets and the Influence of Bach -- Connecting with Listeners -- Compositional Aesthetics -- References -- Chapter 18: Low Frequency as Concept in The Music of Cat Hope -- Introduction -- Arriving at a Practice -- Low Frequency as Concept -- Low Frequency as Instrument -- The Timbre of Low Frequency Sound -- Low Frequency as Structure -- Conclusion -- References. ; Chapter 19: A Drone Opera Recast: Threat, Allure, Promise -- Introduction -- Key Conceptual Elements: Extensions, Retentions and Distillations -- Audience Co-creation of Some of the Libretto -- The Dodsworth Method, from Soprano Judith Dodsworth -- Key Musical Elements: Extensions, Retentions and Distillations -- References -- Part III: Musical Awakenings: Reflecting Back, Projecting Forward -- Chapter 20: Composing the Rolls-Royce: A Composer's Adventures in Orchestral Composition -- Musical Background and Experience -- An Accidental Student Abroad: Studying in the USA -- Welcome to Australia -- Mentoring Future Composers -- References -- Chapter 21: Finding a Reason: A Composer's Pathway Forged Through Social Justice Advocacy -- Introduction -- Navigating Inexperience and Discrimination -- New Horizons -- Queer Choirs -- Publications -- San Francisco -- Australia and South Africa -- New Compositional Paths -- Writing on Domestic Abuse -- Coming Full Circle -- References -- Untitled -- Chapter 22: "When It Comes to Music Notation, I'm a Type Triple-A Composer!" -- Introduction -- Chapter 23: How My Music Is Made: "Tantôt Libre, Tantôt Recherché" -- Introduction -- But Stars Remaining (1971) -- The Same Day Dawns (1974) -- Columbia Falls (1975) -- The Old Woman of Beare (1981) -- A Penny for A Song (1981) -- Extension of My Chromatic Language: Microtonality and Diatonic Modality -- The Story of Mary O'Neill (1986) -- Blood Wedding (1992) -- Light Passing (1992) -- Chamber Operas -- Seminal Influences -- Current Perspective: libre…recherché -- References -- Chapter 24: Carnivals of Voice, Musical Playgrounds: Music from Text in Works of Andrée Greenwell -- Introduction -- Green Room Music: A Flexible Platform to Produce My Own Works -- Playing with Voice in Long-Form Works -- Current Work -- References. ; Chapter 25: The Mirror: A Novel in Reflections-Excerpts -- Introduction -- (1) -- (2) -- (3) -- Ritornello I -- Chapter 26: Sometimes Dreams Do Come True: Thea Musgrave's Exploration of Dramatic-Abstract Forms in her Instrumental Music -- Introduction -- Exploration of Works -- Concerto for Orchestra (1967), Program Note by Susan Bradshaw -- Concerto for Clarinet (1968), Summary by Thea Musgrave -- Night Music (1969) -- Memento Vitae (1970) -- Concerto for Horn (1971) -- Viola Concerto (1973) -- Trumpet Concerto (2019) -- References -- Chapter 27: My Awakening as Composer-No Adjective -- Early Years -- Graduate School and Beyond: Composer! -- The Issue of Adjectives -- Conclusion: Maintaining Balance -- Score Excerpts-Judith Lang Zaimont -- References -- Chapter 28: Epilogue -- Index.
• Sommario/riassunto: This edited volume presents 27 original essays by living composers from all around the globe, reflecting on the creation of their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinctive feature of this collection is the snapshots of creative processes and conceptualizing on the part of women who write music, writing in the present day, from prominent early-career composers to major figures, from a range of ethnic backgrounds in the contemporary music field. The chapters step into the juncture point at which feminism finds itself: as binary conceptions of gender are being dissolved, with critiques of the attendant gender-based historical generalizations of composers, and with the growing awareness of the rightful place of First Nations' cultural voices, the contributors explore what, actually, is being composed by women, and what they think about their world. The needs that this book serves are acutely felt: despite recent social gains, and sector initiatives and programs encouraging and presenting the work of women who compose music, their works are yet to receive commensurate exposure with that of their male counterparts. In its multi-pronged, direct response to this dire situation, this vibrant volume highlights established as well as emerging women composers on the international stage; reveals myriad issues around feminism, as broadly conceived; and gives insights, from the composers' own voices, on the inner workings of their composition process. The volume thus presents a contemporary moment in time across the generations and within developments in musical composition. With its unique insights, this book is essential for academics and practitioners interested in the illuminations of the current working landscape for creative women. Linda Kouvaras is a professor at the Melbourne Conservatorium of Music, the University of Melbourne, Australia. Natalie Williams most recent academic posting was as Interim Dean at the School of Music, Art and Theatre, North Park University, Chicago, United States of America. Maria Grenfell is an associate professor at the School of Creative Arts and Media at the University of Tasmania, Australia.
• Titolo autorizzato: The Composer, Herself
• ISBN: 3-031-23922-9
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910767525003321
• Lo trovi qui: Univ. Federico II